Chapters from Contemporary Cinema
|311CHCC||ZK||2||2 hours (45 min) of instruction per week, 32 to 42 hours of self-study||English||winter|
Name of lecturer(s)
Learning outcomes of the course unit
By the end of the course students will:
understand dominant tendencies in contemporary western cinema
explain their economic, social and cultural background
analyse selected films and understand their historical/cultural references
Mode of study
lecture + seminar
Prerequisites and co-requisites
Students are required to attend both lectures and discussion seminars and participate actively. A maximum of 3 absences during the semester is allowed. For the seminars, students are required to watch selected films, and be prepared to discuss them in groups and collectively.
Besides watching assigned films, the students will give one presentation during the semester, based on a specially assigned text/material. This applies to the seminar sessions. The presentation should take approx. 20 minutes, the students are welcome to support their argument with clips from the film in the discussion. The presentation should focus on the main points from the assigned text and their relation to the given film. It is not necessary to sum up the plot, technical specifications, and awards of the discussed film. The presenting student will also prepare at least 3 discussion topics relevant to the assigned texts and film(s) and lead the discussion with their colleagues in class.
Final test and essay:
The test will cover the topics outlined in the lecture sessions only, there will be 6 questions based on the presentations and materials sent in advance by the lecturer.
In the essay (5-7 pages double-spaced) the students are asked to elaborate on one aspect of their presentations, the more specific and detailed, the better. The essay must comply with academic writing standards, including citations and paraphrasing following MLA or Chicago style citation norms. Plagiarism is unacceptable and will result in a failing grade for the essay and a lower grade for the overall course.
Week 1 – Monday, Sept. 26
Introduction + presentation topics assignment
Week 2 – Monday, Oct. 3
Lecture topic: New Romanian Cinema
Week 3 – Monday, Oct. 10
Seminar: Death of Mr. Lazarescu (Cristi Puiu, 2005)
Texts for presentation: Jeanine Teodorescu, Anca Munteanu. "´Lazarescu, come forth!´: Cristi Puiu and the Miracle of Romanian Cinema.” Film Criticism 34.2/3 (Winter 2010): 51-66.
Andrei Gorzo. “In the Name of ´The Ambiguity of the Real´: Romanian Cinematic Realism after the 2000s.” Film Criticism 41.2 (October 2017):1-12.
Week 4 – Monday, Oct. 17
Seminar: Bad Luck Banging or Loony Porn (Radu Jude, 2021) + Touch Me Not (Adina Pintilie, 2018)
Texts for presentation:
Week 5 – Monday, Oct. 24
Week 6 – Monday, Oct. 31
Lecture topic: Greek Weird Wave
Week 7 – Monday, Nov. 7
Seminar: Attenberg (Athina Rachel Tsangari, 2010) + Dogtooth (Yorgos Lanthimos, 2009) + The Killing of a Sacred Deer (Yorgos Lanthimos, 2017) or The Favourite (Yorgos Lanthimos, 2018)
Texts for presentation: Marios Psaras. “Attenberg: Of (Dis)Orientation.” The Queer Greek Weird Wave (Palgrave Macmillan, 2016): 123-154.
Steve Rose. ”Attenberg, Dogtooth and the Weird Wave of Greek Cinema.” The Guardian, https://www.theguardian.com/film/2011/aug/27/attenberg-dogtooth-greece-cinema
Week 8 – Monday, Nov. 14
Lecture topic: Neo/realism Today
Week 9 – Monday, Nov. 21
Seminar: The Kid with a Bike (Jean-Pierre Dardenne, Luc Dardenne, 2011) + + Young Ahmed (Dardennes, 2019)
Texts for presentation: Richard Rushton. “Empathic projection in the films of the
Dardenne brothers.” Screen 55.3 (Autumn 2014): 303-316.
Frédéric Bonnaud. “Radical Kindness.” Film Comment 48.2 (Mar/Apr 2012): 22-25.
Week 10 – Monday, Nov. 28
Seminar: Sorry We Missed You (Ken Loach, 2019) + Full Monty (Peter Cattaneo, 1997)
Texts for presentation:
Week 11 – Monday, Dec. 5
Lecture topic: Contemporary Polish Cinema
Week 12 – Monday Dec. 12
Seminar: Ida (Pawel Pawlikowski, 2013) + Cold War?
Megan Ratner. “Displaced Persons: Ida’s Window on Vanished Lives.” Film Quarterly 67.3 (2014): 30-34. – analysis of style + controversy
Leonard Quart. “Film as Meditation: An Interview with Pawel Pawlikowski.” Cinéaste 39.3 (2014): 40-44.
Week 13 – Monday, Dec. 19
Seminar: Corpus Christi (Jan Komasa, 2019) + Clergy (Wojciech Smarzowski, 2018)
Texts for presentation:
Christian Davies. “Polish film The Clergy sparks hundreds of allegations of abuse.” Guardian, 15 Oct. 2018.
Recommended or required reading
TEODORESCU,Jeanine,MUNTEANU, Anca. "´Lazarescu, come forth!´: Cristi Puiu and the Miracle of Romanian Cinema.” Film Criticism 34.2/3 (Winter 2010): 51-66.
ROSE, Steve. ”Attenberg, Dogtooth and the Weird Wave of Greek Cinema.” The Guardian, http://www.guardian.co.uk/fi lm/2011/aug/27/attenbergdogtooth-greece-cinema
BONNAUD, Frédéric. “Radical Kindness.” Film Comment 48.2 (Mar/Apr 2012): 22-25.
RATNER, Megan. “Displaced Persons: Ida’s Window on Vanished Lives.” Film Quarterly 67.3 (2014): 30-34.
MURRAY, Jonathan. “The Music of Freedom: An Interview with Paweł Pawlikowski.” Cinéaste 44.1 (Winter 2018): 4-7.
Assessment methods and criteria
Student work is assessed based on the class attendance and participation, a presentation, final essay (1500 words) and final text examining the covered topics
The final grade will be calculated as follows
Class Attendance and Participation -25%
Final essay - 25%;
Final test - 25%
Link to the syllabus with assignments -
Link to films -
Schedule for winter semester 2022/2023:
Room No. 2
Schedule for summer semester 2022/2023:
The schedule has not yet been prepared